THE DEPARTMENT OF MUSIC STATE UNIVERSITY OF NEW YORK AT BUFFALO a , -.-.. r -Â¥-^ --

presented by

L- ._;TMENT OF MUSIC/STATE UNIVERSITV OF NEW YORK AT BUFFALO April 7 - April 14, 1984

J A N WILLIAMS. YVAR MIKHASHOFF. LEJAREN HILLER. CO-DIRECTORS BERNADETTE SPEACH. MANAGING DIRECTOR

PROGRAM INDEX

concert

THE EUROPEAN NEWMUSICSCENE encounter

MUSIC OF FRANK ZAPPA I/-

MUSIC OF FELDMAN AND MARCUS

AFTER HOURS CABARET: EVOCATIONS -1 \

NEW FROM NEW YORK..A.: - AFTER HOURS CABARET: INTEGRATIONS

MUSIC AND THE COMPUTER I - ' * % 5

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MUSIC AND THE COMPUTER II

AFTER HOURS CABARET: CONTEMPLATIONS

HILLER-BABBITT COLLAGE - . ^% ." - -

PIANO PERCUSSION EXTRAVAGANZA

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PAGE

Practically from the moment of the founding of the U.B. Music Department by Cameron Baird in 1 953, the creation, performance and study of contemporary music have been integral components of its diverse programs for both students and the public at large. This second North American New Music Festival confirms and reaffirms our commitment to new music here a t UB: building on tradi- tion while chronicling today's avant-garde.

The task of planning this Festival was made immeasurably easier by the ex~erience aained from its highly successful antecedents - the Center of the creative and performing ~ r t s ancfthe ~ u n e in Buffalo Festival. From the residency of Aaron Cooland as the first Slee Professor of Comoosition in 1957, through the 17-year history of the Center - which ended in 1980 -the interactionof COG- poser and performer has been our focus; so it is with this new venture as well. In bringing composers to you, as in the past, our choices will be catholic; the known and the emerging, the prime movers and those primed and on the move. Coupled with quality performances, there will be the opportunity to meet the composers and hear them discuss their work. This approach to the presentation of the music of our time, while clearly appropriate to an academic setting, will a t once provide our young musicians with valuable insights into today's music and produce performances which transcend the ordinary to both challenge and exhilarate.

I join with my co-directors Jan Williams and Lejaren Hiller in welcoming you to the second North American New Music Festival.

This year's festival, though more compact in length, is more varied in style. Concerts based on im- provisation, jazz transformation, computer-generated music, two unique survey presentations -a retrospective American piano marathon, and a present-day European overview - three guest en- sembles and three after hours cabaret concerts are all new elements to enrich our format. In addi- tion, we have chosen to widen our spectrum by adding new venues, with a view toward still greater and more varied audiences. In conclusion, I would like to thank our resident Buffalo performersfor their interest and enthusiasm, and welcome our visiting artists and ensembles - this colorful mix- ture of talents will ensure performances worthy of our distinguished resident and visiting compos- ers.

GUEST COMPOSERS: STEPHEN MONTAGUE ANDREW STILLER CARMAN MOORE

GUEST ENSEMBLES: f - - 3 T SAXOPHONE QUARTET 1 nÑ.-.il QUARTET

PARAMELL V (1 981 1 Anthony de Mare, piano

STEPHEN MONTAGUE Rick McGirr, piano

CHAMBER SYMPHONY (19831 ANDREW STILLER Allegro - Mayn Rue Plats - Menuetto - Presto Amherst Saxophone Quartet

BLUE CUBES (1 9841 Michael Colquhoun, flute Carl Corwin, soprano saxophone Al Kryszak, piano Jan Williams, vibraphone John Bacon, Jr., percussion

CARMAN MOORE Jeffrey Schanzer, guitar Thomas Halpin, violin Gregory Piontek, cello Michael Femiano, African xylophone Rick McGirr, synthesizer Carman Moore, conductor

INTERMISSION

SONATINA PARA PIANO (1 941 1 CONLON NANCARROW Stephen and Frieda Manes, piano, four-hands trans. Y. Mikhashoff, 1983

STRING QUARTET 11 9751 The Tremont Quartet

TREPPENMUSIK (1 9821 Amherst Saxophone Quartet Allen Sigel, clarinet Peter Smith, bass clarinet Alan Heatherington, violin Bruce Cramer. cello Stephen Bradley, electronics

KEITH JARRETT

JOHN REA

Andrew Warner, clarinet Curt Steinzor , bass clarinet Pamela Adelstein, viola Paul Zapalowski, bass Jan Williams, conductor

ANDREW STILLER, who received his doctorate from the State University of New York at Buffalo, currently teaches at Black Mountain II College and Empire State college.^ former member of the Center of the Creative and Performina Arts. he remains active as a woodwind~erformer and writes music criticisms for Buffalo Spree and 1heBuffalo New. His Handbook of instrumentation, which took eight years to write and produce, is being published this month by the University of California Press.

CARMAN MO0,RE studied composition at Juilliard where he received a masters degree. He was for several years a music critic and columnist for the "Village Voice" and contributed to "The New York Times" and other publications. Mr. Moore works in a wide variety of musical media, forms, and styles and often juxtaposes them in the course of a work. His prolific output includes important commissions from the New York Philharmonic and the San Francisco Symphony."The Wild Gardens of the Loup Garou" was recently produced to acclaim at the Lenox Arts Center and is scheduled for an off Broadway run next season.

STEPHEN MONTAGUE studied piano and composition at Florida State University (B.M.,M.M.) and Ohio State University (D.M.A.1 prior to going Warsaw on a Fulbright Fellowship. His compositions have been performed world-wide and he has had important awards and commissions from the National Endowment for the Arts. Arts Council of Great Britain. Gulbenkian Foundation, and others. As a pianist he has toured Europe, North and South America, and has made recordings for all the European Radio Networks. A resident of London, Montague works as a free-lance musician and runs the concert series for the Electro-Acoustic Music Association of Great Britain.

SUNDAY, APRIL 8

CONCERT 2 pm Albright-Knox Art Gallery

^ ances-Marie Uitti

The concept of improvised musical commentary was conceived by Miss Uitti at the 1982 Chicago Contemporary Music Festival "New Music America" during the time she was the official commentator/"cello oracle" for Dutch Radio. Although these concerts were based on aural mate- rial, she has expanded the concept to include visual material to produce " a moveable feast of sounds."

No stranger to improvisation, she has created instant compositions for films, the Venice Biennale, the Milan ~estival and Suono e Imagine, has presented a retrospective of her work in the 60/8O exhibit a t the Stedeliik Museum, and has improvised three full concerts for "Masters of the Bow" at the Holland ~estival. Her seven-hour ~ e w York City Marathon included many musically, verbally and visually improvised segments.

Miss Uitt i gave the first musical museum tour in the Hague at the Haags Geneente-museum in January of 1983. Originating in the old instrument collection, the tour proceeded to the permanent collection where works of Breitner, Toorop, Picasso, Kandinski, and Mondrian were used as visual sources of inspiration for musical improvisation. General characteristics such as form, structure, colour, space and size were employed as the basis for music that was created on four differently tuned violoncelli, a viola da gamba, tromba marina, phonofiddle and other instruments.The public ac- companied Miss Uitti throughout the museum, pausing to hear "sounded paintings."

FRANCES-MARIE UITTI, who made her orchestral debut a t the age of thirteen, studied in the United States with Leslie Parnas and George Neikrug and in Europe with Andre Navarra. She has received many honors including first prizes in the Santa FeYoung Artists Competition and the Bach Competition Berkeley, a Ford Foundation Award, performance in Casals Master Classes, and Diploma d'Onore Accademia Chigiana twice. With a solo repertoire ranging from pre-Bach to cur rent composition, Miss Uitti tours Europe and this country extensively, appearing, as well, a t festi- vals such as Teatro-Musica di Roma and the Biennale di Venezia. Numerous composers. Andriessen. Bussotti and Finnissy among them, have dedicated works to her. She has received re- quests from various networks such as KRO, Basel, BRT and Danish radios for her own composi- tions and has been invited widelv to perform her works. France-Marie Uitt i has develooed unusual playing techniques that use two bows in one hand to expand the sonoral dimensions of the cello. CRI, e

Memoria and Curci are several of the labels for which she has recorded.

Seventy Works in Seventy Years (1914-1 9841 In celebration of his ~wenty- f i f th Anniversary Concert Season.

IVES COWELL ORNSTEIN - . . . - - . GRIFFES GERSHWIN GRAINGER COPLAND

COWELL

BRANT NANCARROW JOHNSON BLAKE - -. . . . - BECKER THOMSON RUGGLES HARRISON BERNSTEIN

CAGE BEESON HOVHANESS PALMER CAGE BARBER

ANTHEIL HILLER ROREM RIEGGER FELDMAN WOLFF BROWN CAGE

OAVIDOVSKY CRUMB WALTZ PROJECT

RZEWSKI

FOSS RUDHYAR WOLFF THOMSON

CURRAN SELLARS SMIT CAGE

THE ALCOTTS ADVERTISEMENT A LA CHINOISE PRELUDES RIALTO RIPPLES PASTORALE THREE MOODS

Â¥ii-Â¥s$-i THE BANSHEE SONATINA AND SHIMMY IMPROMPTU I N TWO KEYS SENTIMENTAL TANGO STARS AND SUNBURST BLUE VOYAGE PRELUDE PIANO VARIATIONS ...- ." ., ,. .wit MUSIC FOR A FIVE-ANO-DIME BLUES PIANO SONATA: ANDANTE CAPRICIOUS HARLEM SOUNDPIECE NO. 5 -

EVOCATION SONATA ANNIVERSARIES

WW-:!- A ROOM/PRIMITIVE PIANO SONATA NO. 5 ADAGIO FAREWELL TO THE MOUNTAINS TOCCATA OSTINATO I N A LANDSCAPE PIANO SONATA: FUGUE

ff.*S.ff. . - . . -- . . 'ZES

SYNCHRONISMS NO. 6 MAKROKOSMOS, VOLUME II (EXCERPTS) WALTZES BY ASHFORTH. BABBITT. CAGE

HARRISON, THORNE, WUORINEN, THOMSON PIANO PIECE NO. 4

it-iwi$ SOLO* RITE OF TRANSCENDANCEi$ PRELUDES-:!- PORTRAITS

-:!-Mi$ HOPE STREET TUNNEL BLUEST CONCERTORAMA TOCCATA* ATTACCA SUBITO LO SCHERZO* TANGO+

SELECTED TANGOS FROM THE INTERNATIONAL TANGO COLLECTION BY 100 COMPOSERS COMMISSIONEO BY YVAR MIKHASHOFF WITH JAMES SELLARS AND THE QUADRIVIUM MUSIC PRESS t19841+

+First Performance ^Â¥Dedicate to Yvar Mikhashoff

SUNDAY, APRIL 8

CONCERT 5 pm through midnight Hallwalls A r t Gallery

w a r IviiKnasnorr

MONDAY, APRIL 9

CONCERT 12:15and 1:15pm Central Library Auditorium

Buffalo and Erie County Public Library's

GUEST COMPOSERS: BERNADETTE SPEACH MICHAEL M C CANDLESS STUART SHEPHERD

DANCER FROM THE DANCE C1984I3t MICHAEL M C CANDLESS

BETWEEN THE LINES (19841<3 BERNADETTE SPEACH

INFLUENCIAS COSMOPOLITANAS Y CONCEPTUALES (1 984133 STUART SHEPHERD

Thomas Halpin, violin Jan Williams, percussion Yvar Mikhashoff, piano

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BERNADETTE SPEACH taught music in private schools in her native Syracuse after receiving her undergraduate degree at the College of Saint Rose in Albany. She studied with Nicolas Roussakis a t ~olumbia ~n iversky and earned her Masters and Doctoral Degrees in Music Composition at State Universitv of New York at Buffalo where she was a student of Morton Feldman and Leiaren Hiller. Miss Speach, who composes for both electronic and acoustic instruments, has had her music per- formed in Los Angeles, New York City, Washington. D.C. and Buffalo, as well as in Italy. She is a founding member and the first president of the Buffalo New Music Ensemble and the Managing Director of the North American New Music Festival - 1984.

Native Californian MICHAEL MC CANDLESS received a Bachelor of Fine Arts degree from California Institute of the Arts where he studied piano with Leonid Hambro and composition with Stephen L. Mosko. As a frequent performer of new music, he has appeared in this country and Europe. He was a soloist a t the 1982 Holland Festival and has recently recorded Morton Subotnick's Double-Life of Amphibians-Ascent into Air for Nonesuch Records. Currently, he attends the State University of New York a t Buffalo where he is a student of Yvar Mikhashoff.

STUART SHEPHERD enjoyed a diversified career in church, film. popular, jazz and new music in his birthplace Toronto. He became involved with experimental music while a student a t York University a t which time he was associated with Toronto New Music Co-operative and received recognition for his scores for Dancemakers and the annual Dance-in-Canada festivals. In 1978 he came to the United States for graduate study, first a t Stony Brook where he studied musicology with Charles Rosen and theory with David Lewin and later a t SUNY-Buffalo t o complete his doctoral degree in composition with Leo Smit. Morton Feldman, and Lejaren Hiller. While maintaining his involvement with Toronto artists, Shepherd is active in the Buffalo arts community as a composer for pmfessio- nal theater and local performance spaces and as a contributing founder of BNME. He is currently on the faculty of Wilfred Laurier University.

MONDAY, APRIL 9

ENCOUNTER 4 pm Baird 31 B

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= = . \ BOB IN DACRON and SAD JANE * , -- BOB IN DACRON 3 . . . Bob's Clothes What Bob's Body Really Looks Like 8d. -! 'v-s2F

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Bob Gets Drunk Bob Meets Jane SAD JANE -. Jane's Clothes , -..-, ... , - - - - What Jane's Body Really Looks Like - .' rz Alia Marcia

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--a . . . . , INTERMISSION - - - - 0 \ -

I- 2- \ - ;=

SINISTER FOOTWEAR -

1. Jake who designs it - Someplace in New Jersey where they make them Illegal aliens on a lunch break - At the catering truck Jake eats a molded jello salad - Jake's secretary Illegal aliens work slower in the afternoon - Jake's secretary reads her magazine Illegal aliens want to go home - Jake's secretary eats cottage cheese Ugly shoes on the assembly line

2. What you think you look like while you're wearing them Sometimes they make you walk funny - Other people pretend not to notice Sometimes you have to take them off for a minute , Then you put them back on because you think they look so good on you Children can also have ugly shoes - The foot doctor says you might need an operation But you're gonna wear them anyway - Various new postures - Everybody has a pair somewhere

A place you go when you got them on

Yvar Mikhashoff. piano Michael McCandless, piano Bruce Penner, percussion Michael Femiano, percussion Dan Hull, percussion Gary Rutkowski, percussion

Anthony de Mare. piano Rick McGirr, piano Nick Dickman, percussion John Bacon, Jr., percussion Ed Folger, percussion Denise Valiant oercussion

Thomas Halpin, electric violin Nicholas ~olfese, electric bass Michael Kankiewicz, electric guitar Jan Williams, conductor B'$ *-?

FRANK ZAPPA has sustained one of the longest, most prolific careers in the field of DOD music. Re- cognized as an influential force in many musical realms,~appa. who crashed into the music scene in 1 964 with "The Mothers of Invention." calls himself a "scientist of the absurd." counterina what he calls "Corporate Rock Pollution" with his own alternatives hot from the ovekof h he utility ~ u f f i n Research Kitchen." His own producer, by way of his I.C.A. (Inter-Continental Absurdities) Company and his "Barking Pumpkin Records." he works in forms as dissimilar as Rock and Roll is to his re- cently released ballet music recording with the London Symphony. His wit. social commentary and committment to craftsmanship haveproduced a body of works that includes 203 songs, 35 album releases. 91 instrumental works. 32 com~ositions for orchestral and choral forces. 4 ballets. 2 fea- .- -

ture films, and 2 TV specials. Acclaimed for his achievements as a composer, conductor, guitarist and record producer, his most recent area of exploration is Broadway, and his book, "Make Believe Movies," is currently making the rounds of publishing houses.

9

CONCERT .'. ,'

8 pm Slee Concert Hall

Frank Zapp

TUESDAY, APRIL 10

ENCOUNTER 4 pm Baird 327

CONCERT 8:Oo pm Baird Recital Hall

MORTON FELDMM M D BUNITA MARCUS

GUEST COMPOSER: BUNITA MARCUS

FACULTY COMPOSER: MORTON FELDMAN

SOLO f19811 Eberhard Blum, flute

BUNITA MARCUS

INTERMISSION

CRIPPLED SYMMETRY f19831 Eberhard Blum, flute Nils Vigeland, piano

MORTON FELDMAN Jan Williams, percussion

BUNITA MARCUS, a native of Madison, Wisconsin, received a B.M. in Music Theory from the University of Wisconsin in 1976. At the State University of New York at Buffalo she studied com- position with Morton Feldman and Leo Smit, was an Edgard Varese Fellow, and earned a PhD. HI Composition in 1981. Miss Marcus has written commissioned works for Aki Takahashi ARK Sound-Space, Eberhard Blum and others. Her works have been performed in the United States. Europe and Japan. In 1982 the International Society of Contemporary Music selected her Two Pianos and Violin for wrformance at the World Music Festival in Austria. SOLO was a 1983 winner of the 1.S.C.M - League National Composers' competition. Miss Marcus currently lives in New York City and is active composing, conducting and performing.

k' -- PERFORMANCE I-, r 1. RICERCAR

Fra,mes-Marie Uitti, cello

k- ;' DREAM'

Paula Ifft Mffiirr, soprano Lynn Kainz, guitar

- SEQUENZA V - Leonard Krech.trombone

EXERCISES Buffalo New Music Ensemble

DAS GUIRO

OVERTURE

ichael Pugliese. guim . . . . . . . . A

. -

dedicated to bringing conkporary forms of musi, lens for the purpose of developing new audiences circumstances. Th- "out-reach" performances new and creative music. . . . - .. , .

A - - . . . . . . . . .

1

TONY BILLONI & CO. . .; a

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* - 9

FRANCES-MARIE UITTI

JOYCE GRANT Mir All, guitar

LUCIAN0 BERIO

CHRISTIAN WOLFF . -2 I ;

MICHAEL COLQUHOUN

The BUFFALO NEW MUSIC ENSEMBLE (BNMD is a omuo of comnosers and oerformers - - - r - - - - c into public skingssuch as nightclubs and gal- who might feel more comfortable in less formal are aimed at familiarizing a broader public with

MEMBERS OF BNME

William Ortiz Jeffrey Schanzer Bernadette Speech

Donald Miller Marc Wooltiridge

TUESDAY, APRIL 10

CONCERT 1 1 :00 - midnight Cabaret 650. 650 Main Street

ENCOUNTER 4 pm Baird 31 8

CONCERT 8:OO pm Slee Concert Hall

Hew FROM HEW YORH

A Symposium

GUEST COMPOSERS: NETTY SIMONS CHARLES CASAVANT NILS VIGELAND

GUEST ENSEMBLE: THE BOWERY ENSEMBLE AND ISABELLE GANZ

NONAAH 11 9801 ROSCOE MITCHELL

QUARTET 11 9841-3

RYOANJI 11 9831 Isabelle Ganz, mezzo-soprano

INTERMISSION

A WONDERFUL TIME 11 9841-3

NILS VIGELAND

JOHN CAGE

KEN SULLIVAN

GENTLY TURNS 11 9831% CHARLES CASAVANT

CITYSCAPE NO. 2 11 984133 NETTY SIMONS

Â¥% First Performance

Born in Chattanooga. Tennessee, CHARLES CASAVANT Took his undergraduate and masters degree composition studies under John Bod8 at The Florida State University and earned a PhD. at SUNY at Buffalo where he was a student of Lejaren Hiller and Morton Feldrnan. His thesis, "Con- certo for Two Pianos and Orchestra." ws premiered by the Buffalo Philharmonic Orchestra under the direction of Nils V i n d . Composing for varied instrumental and vocal forces, his output leans toward larger works and shows a marked interest in winds and brass, no doubt a reflection of his work. since 1965, as a band clinician. Currently an Associate Professor of Music at Indiana Univer- sity of Pennsylvania, a post he has held since 1976. Casavant also taught music in Chattanooga public schools prior to coming to Buffalo.

A Native New Yorker, NETTY SIMONS attended New York University's School of Fine Arts. was awarded a scholarship to the Juilliard Graduate School and studied privately with Stefan Wolpe. For four years she produced radio broadcasts of new music for WNYC in New Yorkand WUOM at Univ- ersity of Michigan. Her early works display an extreme economy of means and imaginative control of color. Recently she has employed graphic notation. Her music has been performed thmuahout the United statesand in s on don. ~ a r i g ~ o k ~ o , Osaka, and Melbourne and she has been the recipient of the Ford Foundation Recording-Publication Award.

The New York based BOWERY ENSEMBLE is now in its third year of specializing in new music per- formance. The core group - Barbara Held, flute; Leonard Krech, trombone: Michael Pugliese, per- cussion; and Nils Vigeland, piano/director - is frequently augmented both for its annual three- concert series at Cooper Union as well as for its guest apppearances. In its first two seasons the ensemble commissioned or gave first performances of eight works and this year it will premiere new works by Malcolm Goldstein and Dane Rudhyar. The Bowery Ensemble has enjoyed an associa- tion with John Cage since its 1982 ten-hour marathon of his music. Subsequent concerts with Cage have been given in Washington and at Indiana University of Pennsylvania. The Ensemble has also undertaken a Lukas Foss evening at Cooper Union.

Bowery Ensemble

GUEST COMPOSER: NILS VIGELAND

OVERTURE Connie Schulz. actress

FLAUTA SOLA Barbara Held, flute

CARLOS SANTOS

FOLKSONGS AND SONGS OF JACQUES BREL Isabelle Ganz, voice/guitar

PATIENCE for six clarinets and timpani

NILS VIGELAND

A SET OF TWO BERNADETTE SPEACH Frances-Marie Uitti, cello

PIECE FOR PAGE TURNER AND SMALL ENSEMBLE MICHAEL COLQUHOUN

Bernadette Speach and Co,

PARLANDO

TRAVEL SONG PARIS THE TALE Anthony de Mare, piano

RAPS

MEREDITH MONK

Born in Buffalo in 1950, NILS VIGELAND took his early piano studies with Hazel McNamara and Norma Sapp. In 1969 he made his professional debut with the Buffalo Philharmonic Orchestra in Stravinksy's Les Noces under the baton of Lukas Foss. He earned his undergraduate degree at Harvard where his principal composition teachers were Foss and David del Tredici. As a graduate student at SUNY-Buffalo, he completed an MFA in piano and a Ph.D. in Composition under the tutel- , age of Yvar Mikhashoff and Morton Feldman, respectively. Mr. Vigeland has pursued an active career as both performer and composer. He joined UB's Creative Associates in a series of con- certs in England in 1977. and appeared in an evening of his own music a t the 1980 June in Buffalo Festival. Vigeland is a founder of The Bowery Ensemble, a contemporary music group which pre- sented five concerts in Cooper Union in New York this past season. He has received grants and awards from Harvard, The MacDowell Colony, and the National Endowment for the Arts. In May of 1982, he was honored by the UB Music Department with a concert on the Distinguished Alumni Series. Aformer teacher a t the Masters School in Dobbs Ferry, he is currently pursuing a career as a free-lance artist/composer in New York City.

WEDNESDAY. APRIL 11

CONCERT 1 1 :00 - midnight Cabaret 650, 650 Main Street

Nils Vigeland

THURSDAY, APRIL 12

ENCOUNTERS 1-4 pm Baird 250

CONCERT 4:OO prn Slee Concert Hall

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3 2.3

P !- ? 3

Barry Truax

Individual lectures by the composers with musical illustrations:

GUEST COMPOSERS: JULIE KABAT CHARLES AMES BARRY TRUAX

THE QUEEN OF SPADES Julie Kabat, soprano

ARRAS

ELEVEN DEMONSTRATIONS Literal Selection - Random Selecton -Statistical Frames Markov Chains - Cumulative Feedback - Evolutions - Sorting Functional Hierarchy - Architectural Hierarchy Comparative Search - Constrained Search James Perone, clarinet

COMPUTER MUSIC (19681 Bruce Penner, percussion Jocelyn Alaimo, soprano

JULIE KABAT Neil Rolnick, synclavier

BARRY TRUAX

CHARLES AMES

LEJAREN HILLER Laurence Trott, piccolo

Composer/performer JULIE KABAT writes for voice as well as for traditional and unusual instru- ments, some of which she has built. Winner of a CAPS Award, Beard's Fund and National Endow- ment grants, she is a solo artist for the New York Foundation forthe Arts' artists in residence pm- gram. Miss Kabat, who began composition study at the age of eleven with Ron Nelson, has also been a student of Hall Overton and Jacob Druckman. A Phi Beta Kappa member and magna cum laude graduate of Brandeis University where she was a philosophy major, she uses everyday materials and homespun sounds for creating her own musical world.

Since receiving his undergraduate degree in mathematics and music composition from Pomona College in 1977, CHARLES AMES has pursued graduate studies at State University of New York at Buffalo, earning his doctorate, under Lejaren Hiller and Morton Feldman in 1977. Primarily in- volved with digital computers, Ames, who programmed the digital synthesis package currently in use at SUNY-Buffalo, has drawn from psychology and from the discipline of computer science known as "artificial intelligence" to develop innovative methods of simulating human creative pro- cesses digitally. Ames has had works featured at the International Computer Music Conferences in Denton, Texas, and in Venice, Italy, and his "Undulant" for seven instruments was commissioned and premiered by the S.E.M. Ensemble. Extensive analyses of his works have been published in "Computer Music Journal" and in "Interface: Journal of New Music Research."

Ontario-born BARRY TRUAX is Director of the Sonic Research Studio and holds associate orofes- sorships in two departments at Simon Fraser University to which he came in 1973 to pursue his in- terest in environmental sound in the World Soundscaoe Project. Trained in both music and the sci- ences at Canadian universities, he tookfurther study at the institute of Sonology at Utrecht. Since 1972 he has been developing and using the POD computer music system for composition and sound synthesis. This, along with classical tape and electronic techniques, has provided the mate- rial for most of his compositions. His works are often performed at festivals, conferences and in concert, and have been widely broadcast and recorded. Truax has also published numerous articles and is the author of a soon-to-be published book, Acoustic Communication.

MUSIC AND THE COMPUTER I1

Individual lectures by the composers with musical illustrations:

, LABBv r--"i, r-9 "9 - I "" JOEL - - - - -

I I

' HEILI ------_-

GUEST COMPOSERS: LARRY AUSTIN CHARLES DODGE JOEL CHADABE NEIL ROLNICK

SONATA CONCERTANTE (1 9831-:% LARRY AUSTIN Yvar Mikhashoff, piano

WAVE EDGE (1 9831 BARRY TRUAX

ETUDE (1 9841-3 Frances-Marie Uitti, cello

ANY RESEMBLANCE I S PURELY COINCIDENTAL (19801 Anthony de Mare, piano CHARLES DODGE

INTERMISSION

LOOPY (1 9821 Neil Rolnick, synclavier II digital synthesizer

NEIL ROLNICK

FOLLOW M E SOFTLY (1 9831-;:- Jan Williams, percussion

JOEL CHADABE

Â¥it First Performance

JOEL CHADABE composes for a portable computer music system and performs with it at con- certs throughout the world. Chadabe studied with Elliott Carter at Yale and later in Europe. He has received fellowships and grants from the Ford Foundation, CAPS, and the National Endowment for the Arts. His description of the technology of synthesizers appears in The Development and Practice of Electronic Music and his articles on various asoects of electronic and comDuter music have been published. He established the Electronic ~us i cs tud io at State university of New York at Albany in 1966 and has been its director since its inception.

CHARLES DODGE studied music composition at the University of Iowa and Columbia University. He was a computer music student of Godfrey Winham at Princeton and has been active as a com-

'& poser of computer music since the mid-1960's. Among his commissions are those by the Fromm Foundation, the Koussevitzky Foundation, Nonesuch Records, Ronald Anderson, Stephen Monta- gue with funding from the British Arts Council, Swedish National Radio, and the ~mer ican Compos- ers Orchestra. Dodge is the director of the Center for Computer Music a t Brooklyn College.

NEIL ROL-NICK, whose works for tape and live electronics as well as those for conventional instru- ments are performed throughout this country and Europe, studied with Darius Milhaud, Richard

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Feteiano, Oily Wilson and John Chowning. Among his awards are a Composer Fellowship from the National Endowment for the Arts. a Composer Assistance Grant from the American Music Center, and his selection as an official U.S. representative at the 1982 UNESCO Rostrum of Composers. He is currently on the faculty of Rensselaer Polytechnic Institute where he teaches composition and directs the Electronic Music Studio.

THURSDAY, APRIL 12

ENCOUNTERS 1-4 prn Baird 250

CONCERT 8 pm Slee Concert Hall

THURSDAY, APRIL 12

CONCERT 1 1 :00 - midnight Cabaret 650, 650 Main Street

TCONTEMPIATIOHS AFTER HOURS Cnwn..m .

GUEST COMPOSER: PAULINE OLIVEROS - - , - - .

OVERTURE M C CANDLESS/SCHULZ Connie Schulz. actress

JALTARANG ALEX LUBET Maelstrom Percussion Quartet

MUSIC OF PAULINE OLIVEROS , -

SERENADE LOU HARRISON Jeffrey Schanzer, guitar

THE GREAT LEARNING PARAGRAPH NO. 2 for Singers and Drummers CORNELIUS CARDEW

tion t ward, a ~uggenheh Fellowship,the Beethoven Prize of the City of Bonn, and has been an ao-

PAULINE OLIVEROS works to understand and illuminate the human attentional processes involved in comoosing. performing and listenina to music. She has been the recioient of the Pacifica Founda-

pointee to the Composer's Program Panel of the National ~ndowment for the Arts. Her collabok- tion with Merce Cunningham and oarticioation a t the World's Fair in Osaka in 1970 brouaht her to world attention for her groundbreaking work in electronic music and theater. Fascinated with the use of mandalas in the ar t and t r a d i t i ~ ~ o f various cultures, she uses mandalic shapes and images in her music. Of oarticular note are some ceremonial oieces involvina the collaboration of musician- ship and heightened sensory awareness. She has become increasingly active as an accordionist, performing her own music and the music of others to display a profound respect for the instru- ment's cower to breathe and transform.

HILLER - BABBITT COLLABE In Celebration of Lejaren Hiller's Sixtieth Birthday

i i MILTON BABBITT 4 His Music

GUEST COMPOSER: MILTON BABBITT

FACULTY COMPOSER: LEJAREN HILLER

PORTFOLIO (1 9741 LEJAREN HILLER Frances-Mane U~t t i , cello

THREE COMPOSITIONS FOR PIANO CIS481 Robert Taub, piano MILTON BABBITT

REFLECTIONS (1 9751 MILTON BABBITT Robert Taub, piano

INTERMISSION

CANONICAL FORMS (1 9831 MILTON BABBITT Robert Taub, piano

ALGORHYTHMS II (1 9721 LEJAREN HILLER Versions 1-4 The Compass Players

Bruce Penner, conductor

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~i l l iam ~hubari Prefessorof Musicat Princatan - where he began his

17

FRIDAY, APRIL 13

ENCOUNTER 4 pm Baird 31 8

CONCERT 8 pm Baird Recital Hall

Milton Babbitt

SATURDAY, APRIL 14

CLINIC 10:30- 11:30am Baird B1 1:30 - 3 pm Baird 61

OPEN REHEARSAL 3 5 0 - 5:30 pm Slee Concert Hall

CONCERT 8:OO pm Slee Concert Hall

Charles Boone

In cooperation with the Percussive Arts Society, New York State Chapter

GUEST COMPOSERS: LARRY AUSTIN CHARLES BOONE

MANTRA (1 9701+ KARLHEINZ STOCKHAUSEN Yvar Mikhashoff, piano Michael McCandless, piano Ole Orsted, electronics

INTERMISSION

WEFT CHARLES BOONE

LIFE PULSE MUSIC%- LARRY AUSTIN UB Percussion Ensemble

+ First North American Performance ¥% First Performance

CHARLES BOONE, born in Cleveland, took his studies at the Academy of Music in Vienna, the University of Southern California, and San Francisco State College under the tutelage of Karl Schiske, ~ d o l f ~ e i s s and Ernst Krenek. He has served as chairmanof the San ~rancisco~ompos- ers Forum and was coordinator of the Mills Colleae Performina Grow and Taoe Music Center. Based in San Francisco, Boone has travelled extensively, lectures throughout the United States and Europe, and has been the ~ u e s t composer-in-~esidence of the ~eutscher ~kademischer AUS- tauschdienst in Berlin. Coloristic. sustained, susoended and Ivrical are words that recur freauentlv in descriptions of his music. From the mid-sixties to the present. Boone's composition has shown a clear evolution from concise pointillistic use of materialsto expansive use of s&nd blocks to convey the meaning of his music. The develooment has also moved constantlv toward simolification and re- duction of beans to express his musical ideas with clarity and precision.

LARRY AUSTIN studied at NTSU, Mills and UC-Berkeley and fortwenty years was on the faculty of UC-Davis where he was active as a composer, conductor and performer. A long-time associate of Cage, Foss, Tudor and Stockhausen, Austin was a co-founder of the avant-garde magazine Source. He was a participant in the first summer computer music workshops at Stanford and M.I.T., established and directed SYCOM. the computer music facility a t University of South Florida. and in 1970 accepted an appointment a t North Texas State University where he still teaches and serves as co-Director of the Center for Experimental Music and Intermedia. His works, which have elicited many fellowships, grants and commissions, are well known and widely performed and re- corded, and his music and career are assessed and extensively cited in major references. In addition to composing, Austin has researched the development of compositional algorhythms and interac- tive digital synthesis systems.

Larry Austin